As potential regulation of the art market gathers in the United States, the increasing relevance of the Responsible Art Market Initiative is ever clearer. And while we will miss gathering in Geneva for the first time in several years, RAM is undeterred. Join us on Friday January 29, 2021 for a virtual edition of the annual RAM event, this year entitled “Innovation and change in a Responsible Art Market.” The program follows below (including a virtual networking opportunity), and registration by 27 January 2021 can be accomplished using the following link: www.responsibleartmarket.org/event-registration.
See you then. Until next year, this will have to suffice for ein Stückchen der Schweiz from last February:
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Topics:
Anne Laure Bandle,
Reibpartie,
Pierre-Auguste Renoir,
Art Law Foundation,
New York University,
TEFAF,
Geneva,
Sandrine Giroud,
Lalive,
Albert Martin Wolffson,
Eugene Driker,
Sullivan & Worcester LLP,
Henry Zacharias,
Copyright,
EPA Victory,
Sullivan and Worcester LLP,
Bonhams,
Nicholas M. O'Donnell,
Elmyr de Hory,
Mathilde Heaton,
RAM,
Responsible Art Market initiative,
Phillips,
Stephenson Harwood,
Jonathan Petropoulos,
Nanne Dekking,
Artory,
National Defense Authorization Act,
Nicolas Galley,
Borel & Barbey,
Valentina Volshkova,
Masterworks,
Tom Christopherson,
Melanie Damani,
Pace Gallery,
University of Zurich,
Masha Golovina,
Hottinger Group,
Freya Simms,
LAPADA,
The Association of Art and Antiques Dealers,
Audry Li,
Zhong Lun Law Firm,
Shanghai
The German Advisory Commission for the Return of Cultural Property Seized as a Result of Nazi Persecution, Especially Jewish Property (Beratende Kommission) has issued its latest decision concerning allegedly Nazi-looted art in German museums. For the second case in a row after the widely (and wisely) derided opinion not to restitute the Welfenschatz or Guelph Treasure at the Stiftung Preussischer Kulturbesitz in Berlin, the commission (known for its presiding member, former German Supreme Constitutional Court judge Jutta Limbach) has recommended against restitution, this time over the claim by heirs of Clara Levy to The Three Graces (Drei Grazien) by Lovis Corinth (1902/1904). The decision (available only in German) is riddled with poor logic and basic historical errors. In short, while it may be that the painting was indeed delivered to Clara Levy’s daughter in the United States at Clark’s express instruction, that is far less clear than the commission states, and its decision further makes a number of assumptions about the circumstances of Jews in occupied or about-to-be occupied territories that undermine its credibility considerably.
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Topics:
Berlin,
Else Bergmann,
Schleifmühle,
Hildebrand Gurlitt,
Cornelius Gurlitt,
Ludwig Levy,
Fritz Levy,
Rita Hubbard,
Germany,
Nazi-looted art,
bill of lading,
Especially Jewish Property,
Buchholz Gallery,
Madame Soler,
German Advisory Commission for the Return of Cultu,
San Francisco,
Entartete Kunst,
Beratende Kommission,
Stiftung Preussischer Kulturbesitz,
FSIA,
Curt Valentin,
expropriation exception”,
Gurlitt,
Restitution,
Max Huggler,
Mendelssohn-Bartholdy,
Clara Levy,
Sigfried Rosengart,
Luxembourg,
Henry Zacharias,
Compagnie Generale Transatlantique Hol Lesquette,
World War II,
Foreign Sovereign Immunities,
Pinakothek der Moderne,
degenerate art,
beschlagnahmte Kunst,
Jutta Limbach,
Kunstmuseum Bern,
Drei Grazien,
Pablo Picasso,
Lovis Corinth,
Museums,
Three Graces,
Bavarian State Painting Collections,
Federal Republic of Germany,
Paula Levy,
Kurt Buchholz,
Welfenschatz,
Limbach Commission,
New York,
Bayerische Staatsgemäldesammlungen
